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FCPX metadata–how significant is it? And why?
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Actually, you can search not only for markers, but clips and timecode also.
When you search for clips at the sequence level, it simply selects them for you.
This works with transitions too and it is a very handy feature.Here’s link for a short description of how it works.
https://www.larryjordan.biz/finding-clips-in-final-cut-pro/
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[Walter Soyka] “I am shocked.”
It is the killer app for Blackmagic hardware.
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[Chris Harlan] “Whoa! DNxHD? How nice!”
Shane Ross called it — we’re entering the age of DNxHD [link].
But did you see the part about unlimited nodes? Resolve Lite is now a full-featured color grading system. For free.
Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events -
[Bill Davis] “I expect you will now cease doing so since you’ve clearly judged it to be a “poor value” compared to your other available choices.”
Oh, I’ll continue to explore it, as well. I certainly haven’t counted Apple out by any means. Unfortunately at this point, when trying to actually use it on projects for real clients, it hasn’t performed as well as FCP7 based on the one criteria that it should – better performance based on a 64-bit architecture. I find that disconcerting. Some of that appears to be because of the unfortunate reliance on Motion for its effects.
I just think price is completely irrelevant in any argument related to Apple software. Their prices are set by marketing – pure and simple. This software wouldn’t be any different if they charged $3, $300, $3,000 or $30,000.
But we are straying off of the topic: metadata.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Jeremy Garchow] “It is the killer app for Blackmagic hardware.”
Is it? You still need a monitor. I wonder how many the $1k price of the license was a deal-breaker for.
Then again, I thought it was a killer app at the stupid cheap price of $995. I pulled a Kona out of a machine just for Resolve.
Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events -
Dude! I totally see where you are coming from in this. I NEVER need to get this granular since I’m project in/project out with a clean slate each time, and seldom any overlap between projects. Looking at what you’ve got going here, makes me see your POV a whole new way. Just curious–did Final Cut Server not deliver for you?
Also, can you call up those GPS points in FCP X? I think that would be terrific for location scouting.
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[Walter Soyka] “Then again, I thought it was a killer app at the stupid cheap price of $995. I pulled a Kona out of a machine just for Resolve.”
FWIW -and on topic (sort of) – Resolve works with XML roundtrips to/from either FCP 7 or FCP X. And by default Premiere Pro, too.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
And speaking of metadata, is there a way to NOT to have Events’ contents in the browser be grouped by date? This should be an OPTIONAL way to sort info. More often than not it’s secondary information, not top-level, as it is implemented now.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
In big projects I don’t get beach-balls, I get that tiny spinning reel.I understand they are quite different, no?
But I would have to check on that, since in those projects the editors always break them up in sections in order to avoid this kind of problems.The caveat with “Compound Clips” is that they increasingly bloat your project file further in time, as you create them. Not good. If you’re using it, you should know it. But it will get better, huh?
As I said, I can sift that resulting bin, like the “reel” column and get only the ones I want to see in order, This at the browser level selecting “used media” then I drag them to a sequence with “Show Duplicates” selected and voilá. Workarounds aren’t exclusive to FCP X 😉
I give you that X is more promising in that regard, but it’s not there yet-such a persistent adverb in here.
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[Chris Harlan] “Can’t agree. First, you don’t get “multiple physical copies.” “
OK. But if you drag the clips out of the “results” bin and in to a new bin, they then leave their original position. So now you ether have to duplicate, copy/paste which makes it an affiliate clip of the original master clip (unless you choose to make it a new master which causes more confusion), or accept that these clips have a new home. To me, it is not an illusion.
FCPX allows a clip to be in multiple places at once without that mess. Some find this stupid/limiting, I find it smart and more flexible.
[Chris Harlan] “Now, Jeremy, the few extra keystrokes required to copy all of the contents of one bin and paste them in another is hardly “no where near as useful and fluid as FCPX.””
It’s not about the keystrokes, it’s about how FCP7 tracks the media. FCPX clips are always in the Event, no matter what, you single click the event, there’s all your clips. With FCP7, clips are only in the place that you specifically put it. To use an analogy, with FCPX the footage is always in a big bucket that is easily searchable by the tags that are hanging off of it, once you are done you can simply throw it back in the bucket, or add a new tag to help find it by sight later. FCP7 puts things in compartments which you have to find, open, look for the tag, close back up, open another, etc and so forth. You cannot simply write “Broll” AND “Irvine, CA” on a tag and add to the pile, you have to split the clip and put it in a “Broll” compartment and a “Irvine, CA” compartment. Those two clips which are identical may or may not have a relationship to the clip in the timeline. It depends on which one you used. I personally think FCPX is way more highly flexible in this regard. I don’t have to keep track of two clips. That one clip can be defined multiple ways, which is the very strength of metadata.
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